Sunday, August 30, 2009
Friday, August 28, 2009
Goonies Images
Jennifer Clarke amoungst 2000 Cranes. Cranes by Daniel McRorie.
Anne Cooper at practice session at Goonies in June 09.
Feet hanging and extended in air.
Monday, August 24, 2009
quote
Nina Martin once said that improvisation is short deliberation choreography. And then added that if choreography is about long deliberation, it doesn't always makes it a better dance.
continuums
Hello, I would like to start a collection of continuums... If that makes no sense to you here is a few examples and please add some of yours if you have some.
Patience <---> Passion
Abstraction <---> Representation
Control <---> Expressiveness
If you read this diagram vertically, you get a group of concepts that seems caricatural of the form. The caricature being that abstract art is about control and representative art is about expression. There is some truth in it and it and that is why exploring this diagram diagonally is fun. That is why I love Abstract Expressionism and forms of art at the frontiere of being documentary (representation and control).
Patience <---> Passion
Abstraction <---> Representation
Control <---> Expressiveness
If you read this diagram vertically, you get a group of concepts that seems caricatural of the form. The caricature being that abstract art is about control and representative art is about expression. There is some truth in it and it and that is why exploring this diagram diagonally is fun. That is why I love Abstract Expressionism and forms of art at the frontiere of being documentary (representation and control).
Sunday, August 23, 2009
Wednesday, August 19, 2009
Friday, August 14, 2009
Notes from Laura
Seems like we're picking up tempo, and elements have begun to establish themselves.
Ritual practice as a warm up and 'arrival': Enter the space, set up/warm up, discuss past sessions and new ideas. Begin with 10 minute, 'all out': 10 minute improv with the score of allowing your needs, energies, desires - whatever it may be, to become part of the space. (Katy and I also referred to this as the verbal diarrhea score.)
As Julie mentioned, on the 21st, we played mostly with a 'Simul-Start/Stop' Score. Here are a few of my thoughts that arrived out of this practice:
- it doesn't matter where you are in the score, as long as it's clear in your own head.
- the idea of 'camouflage' seems to establish the skill of staying with an impulse despite group shifts
- there can be all kinds of shifts, but what lasts? the solo? the idea? continuity? the score, or the vocabulary? Establishing a larger perspective inside the score.
- along with the '3 minute' tendency, we also tend to fall into a habit of rhythm (group shifts occur at balanced intervals.) It would be interesting to work on different scores or ideas that break this.
Last week, it was just Katy and I, Lee and Madoka. Two musicians, two dancers. We played with what we called 'Pick your Player." What fun! (You can see the video below. - Thank you Lee!) Ideas that came out of this were dancers trying to identify musicians, simultaneously while the musicians chose them. Choice to keep selection secret, or set it out before hand. Contrast, mimic, or compliment? Are there other options for relating? The possibility that musician could become choreographer if we score types of movement to types of sound, eg: high movement = high sound, whirling = circling etc. This could easily establish a group language and strong dynamics.
watch the video here: http://www.youtube.com/watch?v=p9djPaBmtHc
till next time... L.
Ritual practice as a warm up and 'arrival': Enter the space, set up/warm up, discuss past sessions and new ideas. Begin with 10 minute, 'all out': 10 minute improv with the score of allowing your needs, energies, desires - whatever it may be, to become part of the space. (Katy and I also referred to this as the verbal diarrhea score.)
As Julie mentioned, on the 21st, we played mostly with a 'Simul-Start/Stop' Score. Here are a few of my thoughts that arrived out of this practice:
- it doesn't matter where you are in the score, as long as it's clear in your own head.
- the idea of 'camouflage' seems to establish the skill of staying with an impulse despite group shifts
- there can be all kinds of shifts, but what lasts? the solo? the idea? continuity? the score, or the vocabulary? Establishing a larger perspective inside the score.
- along with the '3 minute' tendency, we also tend to fall into a habit of rhythm (group shifts occur at balanced intervals.) It would be interesting to work on different scores or ideas that break this.
Last week, it was just Katy and I, Lee and Madoka. Two musicians, two dancers. We played with what we called 'Pick your Player." What fun! (You can see the video below. - Thank you Lee!) Ideas that came out of this were dancers trying to identify musicians, simultaneously while the musicians chose them. Choice to keep selection secret, or set it out before hand. Contrast, mimic, or compliment? Are there other options for relating? The possibility that musician could become choreographer if we score types of movement to types of sound, eg: high movement = high sound, whirling = circling etc. This could easily establish a group language and strong dynamics.
watch the video here: http://www.youtube.com/watch?v=p9djPaBmtHc
till next time... L.
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